Dutton at the Dancehouse

The Dancehouse

Author Pit-Yacker
Source Wikipedia
Creative Commons Licence

Tomorrow at 18:30 Martin Dutton will give a special class to students of advanced and pre-intermediate Level students at the Dancehouse Theatre on Oxford Road in Manchester.  The pre-intermediate starts at 18:30 and ends at 19:55.  The advanced class starts at 20:00 and ends at 21:15. The fee for both classes will be £10.  As Karen Sant, KNT's principal says:, "it will be amazing."

Dutton must have excelled in music as well as dance for he entered Chethams and became head chorister of Manchester Cathedral.  He trained at Central School of Ballet where "Christopher Marney, Hannah Bateman, Kenneth Tindall, Rachael Gillespie, Dominic North, Sarah Kundi, Paul Chantry and many more of my favourite dancers and choreographers trained" (see Ballet Central returns to Leeds 1 Feb 2017).

He began his career in the corps of Northern Ballet Theatre (now Northern Ballet) and danced for a while with Peter Schaufuss Balletten.  Readers will remember that Schaufuss created the production of La Sylphide that the Queensland Ballet brought to London in 2015 (see A dream realized: the Queensland Ballet in London 12 Aug 2015). This should be our national ballet because it is set in the Scottish highlands but try to getting a British company to dance it - even one that is actually based in the Scottish highlands (see Taynuilt - where better to create ballet 31 Aug 2013). I digress. The point is that Dutton must have impeccable credentials with exposure to the Danish tradition as well as the English and Russian ones.

For the last 10 years or so Dutton has taught at some of our most prestigious ballet schools including Northern Ballet School (see New Dance Teacher Martin Dutton Nov 2012), Ballet Theatre UK and the Hammond School.  It is not every day that adult dance students get a chance to learn from a teacher with this kind of experience and reputation. Even if you live some distance from Manchester this class will be well worth the journey.

Comings and Goings

Birmingham Royal Ballet

Both Birmingham Royal Ballet and Northern Ballet have published press releases on arrivals and departures and promotions within the company. Birmingham's was published on Monday and is headed End of Season Announcements. Northern's was published yesterday and is headed Dancer promotions and joiners for 2016/17.

I should like to congratulate everyone in both companies who has been promoted. All are well merited. As readers know I try not to have favourites but there are some artists who delight me particularly in both companies.

Of those who have been promoted in Birmingham I am especially glad to see the elevation of Celine Gittens to Principal. Her performance as Swanilde in Coppelia at the Lowry on the 5 March 2015 was Sensational.  Another of my favourites is Delia Matthews who is now a First Soloist. I was at the Opera House in York when she was injured in Les Rendezvous. I almost felt her pain (see Birmingham Royal Ballet in York 21 May 2015). I was so sad. But she made a great recovery and danced beautifully in Romeo and Juliet as Rosaline (see A Good Outcome from an Unhappy Event - Singleton's Fine Performance 6 March 2016) and in The Taming of the Shrew just a few days ago. Yet another promotion that delights me is Brandon Lawrence who is now a soloist. A Bradford man he soars in every role - particularly when he dances in Yorkshire.  As I said last year

"if I have to single out anyone it has to be Brandon Lawrence, a Bradford lad who clearly relished his return to God's own county. He danced proudly and magisterially. There was no doubt that he was glad to be back on home turf."

 Finally, I am delighted by Valentin Olovyannikov's promotion. He was a great cleric and innkeeper in The Taming of the Shrew.

I was delighted by all the promotions in Leeds but particularly by Rachael Gillespie's. Abigail Prudames's and Kevin Poeung's.  Rachael excel's in everything but one role that she danced particularly well was as Tinkerbell in Peter Pan (see Not too sure about Fairies but I certainly believe in Rachael Gillespie 21 Dec 2014). My favourite performance by Kevin Poeung was as Puck in Midsummer Night's Dream at West Yorkshire Playhouse in 2013 (see Realizing Another Dream 15 Sept 2013). I think my favourite performance by Abigail was in Jane Eyre which I saw in Richmond a month ago.

There is one advancement that I long to see, especially as two of Northern Ballet's premier or principal dancers are on leave of absence. No names no pack drill but her dancing is

Heavenly

and she is

Beautiful 

to watch. Though Janet McNulty and Mel Wong might argue otherwise I am probably that dancer's number one fan.

Sad to be see departures and leave of absence from both companies and I wish all leavers well. However, my sadness at Luke Schaufuss's departure is mitigated by the fact that I can still see him in Scotland. He was great in La Sylphide last year (see A dream realized: the Queensland Ballet in London 12 Aug 2015). Finally, a big hello to all the joiners to both companies. I shall look forward to watching them dance. No doubt some will become big stars.

A dream realized: the Queensland Ballet in London

Queensland Ballet, La Sylphide, Coliseum 8 Aug 2915 19:30

Jane Lambert and Gita Mistry

In their Annual Report for the year ended 31 Dec 2010 the directors of the Queensland Ballet wrote:

"Our dream

By 2013, Queensland Ballet will be recognised, not only in Queensland but throughout Australia and also overseas, for:

• creating and presenting a broad repertoire of quality work which ranges from the great classics, through contemporary dance, new ‘story’ ballets, and works for children 

• exciting and challenging both dancers and audiences 

• developing choreographers

• training dancers to a consistently high standard in classical ballet technique, and developing that technique through excellent coaching and creative artistic development

• having a strong and coherent artistic team led by a strong Artistic Director and Chief Choreographer

• best practice in company management."

Their season at the Coliseum which ended last Saturday shows just how far that dream has come true. Much of the credit for their success is due to their artistic director, Li-Cunxin who combines business acumen with artistic genius.

The Queensland Ballet is not a large company. it has 23 dancers according to Wikipedia (though I have counted rather more on its website) but it stages full length classics like The Sleeping Beauty, Coppelia and The Nutcracker as well as contemporary works. It is based in Australia's third largest city and it must compete for attention and to some extent audiences with the Australian Ballet in Melbourne and Sydney and the West Australian Ballet in Perth. To bring La Sylphide to one of the world's two alpha ++ cities which hosts two of the world's greatest ballet companies and sees most of the rest periodically was extremely ambitious. Some would say recklessly so.  In our view the Queensland Ballet carried off this enterprise magnificently.

The company did not choose the easiest work for its début in England.  La Sylphide is not performed very often in the UK. The last performance by the Royal Ballet was in 2012 (see La Sylphide 7 Aug 2015). Why that should be is not clear because it is a lot more credible than say Giselle. James on the day before his wedding is distracted by the image of a sylph which he follows into the woods. Well men do that.  He is not very nice to an old lady who tries to warm herself by the fire. There are no trysts beyond the grave and the ladies in white are much less offensive than the wilis. From a feminist perspective  the outcome of the ballet is satisfying. Effie is rescued from a disastrous marriage with an utter prat. Gurn is much more likely to look after her properly.  Also in the last scene James is taught some manners. if you treat the sylph and the poisoned scarf as a figment of James's lurid imagination the story makes perfect sense today.

The version that Queensland Ballet brought to London was created by Peter Schaufuss for what is now the English Festival Ballet in 1979. It is still remembered by a lot of people. When Li-Cunxin spoke to the London Ballet Circle on 3 Aug 2015 Gerald Dowler asked how many members of the audience remembered that production. It was surprising how many hands sprang up (see Li-Cunxin at London Ballet Circle 5 Aug 2015).  Not everybody liked that version at the time, particularly not in Denmark. The better known and more popular version is Johan Koburg's.

To appreciate this ballet you have to put yourself in the mind of the 19th century theatre goer. This was one of the first works (if not the first) in which a ballerina rose on pointe as part of the choreography.  The stage would have been lit not by electricity but by gas or flickering candle. The impression on the audience must have been almost magical.  Something of that magic was wrought by Yanela Piñera who reminded me of Carla Fracci who enchanted me when I saw her dance the sylph nearly half a century ago.  She was accompanied - I won't say partnered because there is no pas de deux as such - by Peter Shcaufuss's son Luke as James. It was great to see Greg Horsman and Mary Li  (nee McKendry) again. They are both well known in England.  Horsman danced Madge and Li Anne, James's mother. Mia Heathcote was a delightful Effie. I particularly liked her first dance with the foot flexing.  Vito Bernasconi was a worthy Gurn.

There is a lot of drama in this ballet as well as a fair measure of levity. It was also colourful David Walker's sets and costumes were gorgeous. Steen Bjarke's lighting was the next best thing in the 21st century to gaslight. I have only one niggle and that's the dancing with folded arms. It's not Schaufuss's fault. Bournonville is unlikely ever to have seen Scottish country dancing which explains why the the reels look as though they came out of Hungary. It would be nice if a modern choreographer or a producer made those dances look a little bit more Scottish.

The audience on Saturday night loved the show. A phalanx in the centre stalls actually gave the company a standing ovation though I think these may have been the company's supporters from Brisbane. The Queensland Ballet now has fans on the other side of the world.  It can return to Australia well satisfied with its season in London.

La Sylphide

Basic Facts
Choreographer  Filippo Taglioni, August Bournonville
Composer Herman Severin Løvenskiold
Acts 2
Approximate length: 1 hour 55 minutes including intervals
First performed 1832
First performance of Bournonville's production 1836
Genre Romantic


Introduction

La Sylphide was first danced in 1832 when Europe fell in love with all things Scottish. This love of all things Scottish had all sorts of manifestations: the novels and other works of Sir Walter Scott, Donizetti's Lucia di Lamemoor, Scottish baronial architecture and lots of dramatic landscape painting like Jacob Moore's Falls of Clyde above. This ballet is in the news just now because it has been brought to London by the Queensland Ballet.

Reviews

The Australians have had good reviews from the press this week. Far better, indeed, than their cricketers though that may change as there are still three more days of play at Trent Bridge.   Louise Levene wrote in the Pink'Un "Peter Schaufuss’s version of the Romantic tragedy is a fine showcase for these well-drilled dancers" 6 Aug 2015. Zoe Anderson rejoiced in "Romantic tale features fleet-footed footwork from the Queensland Ballet" 6 Aug 2015 in The Independent. Judith Mackrell celebrated the company's "impressive mastery of a tragic fairytale" 6 Aug 2015 The Guardian.  It seems also to have gone down well on BalletcoForum. Whether that is because it is practically the only ballet in the United Kingdom this week or because it really is a good show remains to be seen. Gita and I shall see it on Saturday and I will review it on Sunday or shortly afterwards. My hunch is that it is a good show and having listened to the company's artistic director Li-Cunxin at the London Ballet Circle last Monday I think he will have made damn sure that it will be good.

Queensland Version

The show that Queensland Ballet has brought to London was created by Peter Schaufuss for what is now the English National Ballet in 1979. I was reminded of that production at Li-Cunxin's talk to the London Ballet Circle. I had completely forgotten about it and have now only the fuzziest recollection. The performance that sparkles in my memory is one by Carla Fracci as  the sylph. Here she is dancing with Schaufuss though I think the production I saw was by American Ballet Theatre and I can't remember whether I saw it on tour or when I was a graduate student in the USA.

 

However good the Australians may be the sad fact is that they will be on their plane back to Brisbane soon and this lovely ballet will hibernate again. So this resource page is my attempt to keep it alive a little in the public mind for a little bit longer.

Other Versions

First, The Royal Ballet have a version though it was last seen at Covent Garden in 2012 (see La Sylphide on the Royal Ballet's website). So, too, do the Bolshoi who ran four performances in June and will stage another on 3 Oct 2015 (see La Sylphide  on the company's website). I understand from Gillian Barton that Ballet West are planning a production for 2017. That will be really something because Taynuilt is actually in Gurn and Effie territory and the school and their teachers have so much talent.

Further Reading

For those who want to know more about the ballet there are pretty good synopses on the Bolshoi and Queensland Ballet websites. Both companies explain the historical significance of the ballet (see About Performance  on the Bolshoi site and The History on Queensland's). It was one of the first ballers (if not the first ballet) in which the ballerina danced on pointe. There are also useful articles on the ballet in Wikipedia, the Ballet Encyclopedia and The Ballet Bag.

Post Script

11 Aug 2015 There is a very interesting article by FLOSS on BalletcoForum mentioning some of the differences between the Schaufuss version of La Sylphide and the Koburg version.

Coppelia in Oxford

The first time I saw Coppélia was when I was an undergraduate at St Andrews. It was London Festival's at the Coliseum in the late 1960s with Peter Schaufuss ("can't believe it's a real name" scoffed my companion Jean who was reading German at the time and is now a successful solicitor in Scotland) and the beautiful Dagmar Kessler.  It was one of the first ballets that I saw shortly after I got my own income in the form of a local authority grant and entrance scholarship and could afford to take myself off to the ballet and pay for my first ballet lessons. Delibes's music and the kaleidoscope of colour and movement with the gorgeous sets and costumes and the spectacular choreography impressed me like no other ballet before or since.

I saw that show shortly after I had made my first acquaintance with digital computers and the so-called Turing Test. I could not help reflecting on the modernity of the ballet's plot in a way that Saint-Léon and Delibes could never have imagined a century earlier when they first staged the work (see Laura Dodge Coppélia: An Insight), This was a discussion of man-machine interaction, one of the issues of artificial intelligence, a topic of moral philosophy which was compulsory for St Andrews undergraduates as well as something we addressed in our short course in the computer science lab.

Fast forward nearly half a century to the same company's performance of the same ballet (albeit under a different moniker) in another ancient university city and the work was still as fresh and appealing to me as it had been when I first saw it.  Instead of Schaufuss and Kessler I saw Yonah Acosta and Shiori Kase as Franz and Swanilda. Acosta is a virtuoso. Always a pleasure to watch. He wowed us with his magnificent turns and jumps particularly in the last act. His virtuosity I had seen before but last night he also showed his charm and his aptitude as an actor. He is fast winning my admiration in the way that only a handful dancers (one of whom is Carlos) have done. Kase was a lovely Swanilda: sweet, vulnerable (Franz's dalliance with a doll really hurt her), impetuous and in the end heroic as she struggled to release her fiancé from Dr Coppélius's clutches. The role could have been created for her.

There were strong performances from Michael Coleman as the mad scientist, Fabian Remair as the Burgermeister, Crystal Costa as Dawn, Lauretta Summerscales and Jung ah Choi (who was also the doll). Anjuli Hudson, Sarah Kundi (one of my favourite dancers as every reader of this blog knows) and Jennie Harringtom in the Dance of the Hours. The whole cast danced well - as one would expect from a company of this calibre - and it is almost invidious to single any of them out for special praise.

Earlier in the day I had the privilege of seeing this company including last night's cast in company class.  I didn't see it all because the traffic yesterday morning was appalling and I don't know Oxford as well as I thought I did. I knew there was an underground car park under the bus station but could I find it in the congestion? I had intended to take the park and ride service but the car parks on the ring road were full by the time I had arrived from Yorkshire. The class took place in the theatre with the scenery for the show on stage. I noticed travelling barres on stage but missed the barre work if indeed there had been any.

Company class was very familiar with the ballet mistress Hua Fang Zhang directing the dancers much in the way Fiona, Annemarie or Ailsa directs me. Some of the exercises were the same as ours though there were several (probably most) that I could never do in a month of Sundays. There was a pianist just as we have in Leeds playing some of the same music as in our exercises. The big difference was in the pace of the class and the fact that the professionals were getting the exercises right first time (or at least most of the time) which doesn't happen with us (or at any rate me).  I noticed how many of the dancers followed the ballet mistress's instructions with finger movements - a useful trick that I shall try - and their effort. They really work hard. I'm even more impressed with those dancers than I had been before.

Just before we left the auditorium we were treated to a rehearsal of the pas de deux in the first act by Kase and Acosta.  As he was in his practice clothes I could see the muscles of that man.  I marvelled at the way he held his precious cargo on his shoulder with his right arm almost casually around her. A precarious position one would have thought but Kase seemed as relaxed and comfortable as if she had been in her favourite arm chair. I've seen such lifts and holds countless times as a ballet goer but seeing it in rehearsal with the principals stripped of their costumes was nevertheless a revelation.

The show is moving on to Bristol now and I thoroughly recommend it.

Further Reading

3 Nov 2014  Sarah Kundi   Oxford: Sarah Kundi on Tour   ENB website